La Petite Bande

Sigiswald Kuijken

La Petite Bande

Leuven, eeuwenoud springlevend

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Interview with Sigiswald Kuijken on Klara

On 27 December from 14:00 to 16:00, Sigiswald gave an interview about Bach on Klara. The interview can be listened to again online via the following link (interview starts at about 1:00:00 in the recording):

Klara webradio

Message by Sigiswald Kuijken

As you might know, for reasons that are not properly understood the Flemish Government terminated its guaranteed annual financial support for La Petite from January 1st 2013: we are the only Belgian orchestra to be treated in this manner, despite our international reputation and extensive discography and contribution to Belgian, European and indeed worldwide musical life. The loss of Government financial support has put La Petite Bande in serious financial difficulties, and we are all working very hard to raise money to ensure that our unique orchestra can continue its work. We are sure that we will succeed, but to do so we need your support, to ensure that we will be able to continue our work and make music!

More information to support the orchestra, as explained by Sigiswald, can be found here:

Joining the new 'LPB Friend group'

The Bach Book

News

Posted: Sunday, 11 March 2018 at 18h02.
New release: Piano Concertos K. 413,414 & 415
New release: Piano Concertos K. 413,414 & 415

Sisters Marie and Veronica Kuijken have joined their father Sigiswald Kuijken in a new recording Wolfgang Amadeus Mozart – Piano Concertos K413, K414 & K415 (Challenge Classics CC72752) that offers a new twist on period performance. Mozart wrote these three concertos for harpsichord or fortepiano, with full orchestra. He also wrote them in such a way that the wind parts might be omitted, and the traditional four string quartet instruments used to create a chamber version of the work. Clearly, this called for very careful string writing and attention to balance. Colour, too, will have been a consideration for Mozart as he wrote for winds to enrich the orchestral texture. This recording uses fortepiano with the quartet version but makes one important change. Conductor and, in this instance, first violinist Sigiswald Kuijken has replaced the cello with a double bass. His argu¬ment for this is that Mozart would likely have assumed that most private buyers of his published score owned harpsichords and would have chosen the chamber version, where the harpsichord was better balanced with the four string instruments. In choosing to record with the more robust fortepiano, the louder, richer bass was an equally robust alternative to the cello. Additionally, switching to double bass moves that pitch an octave lower, creating a fuller, more orchestral effect for the small ensemble. The choice is a calculated but clever and effective one. It places a larger scale work in an intimate setting for a very satisfying and engaging performance.

Posted: Tuesday, 20 February 2018 at 13h30.
New release: Cantatas for the Complete Liturgical Year in 64 cantatas in 19 CD's
New release: Cantatas for the Complete Liturgical Year in 64 cantatas in 19 CD's

Dir. Sigiswald Kuijken